Riccardo La Spina (doctoral student, Universidad de La Rioja (Logroño), summer 2020 to spring 2022) researches nineteenth-century music and enjoys membership in international study groups, presenting for distinguished scholarly societies (Società Italiana di Musicologia; Society for Musicology in Ireland; American Musicological Society; IRCTP, Tbilisi; etc). He received research awards (UK), visiting scholarships (the ICCMU and UCM, Visiting scholar 2002-2003).(Mexico, Spain, Italy), and the AMS’ 2014 Hampson Fund Award for Research in Song (Antonio Barili). Published contributions include Grove, RILM, journals (Diagonal, PMM, Nineteenth-Century Musical Review, Studies in Musical Theatre), reviews, and articles pending. A concertizing tenor-soloist and composer, Riccardo also performs the ethnic song, playing accordion and Georgian panduri. He is currently in residence as Visiting Scholar at the Center for Iberian and Latin American Music, University of California, Riverside, and is a doctoral candidate in Musicology at the Universidad de La Rioja.
Olimpia García López (Cadiz, Spain) is a PhD Candidate in Contemporary History, and Research and Teaching Fellow (FPU-Ministry of Education, Culture, and Sports of Spain), writing a dissertation about Music in Seville during the Dictatorship of Primo de Rivera (1923-1930), at the University of Cádiz. She began her studies of Piano at the Conservatory “Manuel de Falla” in Cádiz and holds a BA in Musicology from the Conservatory of Seville “Manuel Castillo,” an MA in Music Education and an MA in Musical Heritage from the University of Granada. In 2012, she was awarded the Musical Research Prize “Orfeón Donostiarra” (University of Basque Country). She is author of Norberto Almandoz (1893-1970), de norte a sur. Historia de un músico en Sevilla (Libargo, 2015), and she has written several papers and book chapters about musical life in Seville during the first half of the twentieth century. Diego García-Peinazo is Lecturer in Music at the Universidad de Córdoba (Spain). He is a musicologist and music educator interested in areas such as popular-music analysis, intertextuality, rock flamenco, politics and national identity in Spain who holds his Ph.D. in Musicology (with distinction) in 2016 from the Universidad de Oviedo (Spain). His book Rock andaluz: Significación Musical, Identidades e Ideología en la España del tardofranquismo y la Transición (1969-1982) has been awarded the national Premio de Musicología 2016 (Sociedad Española de Musicología-SEdeM). He has published several journal articles and book chapters for publishers such as DeGruyter or Centro de Estudios Andaluces, among others, participated with oral presentations in conferences in the United Kingdom, Germany, Brazil, Portugal, and Spain, and was selected to take part in the International Postgraduate Summer School Methods of Popular Music Analysis (Universität Osnabruck, Germany, 2015). Andrea Garcia Torres is a Ph.D. student at the University of Oviedo (Spain), funded by an FPI fellowship from the Ministry of Economy, under the supervision of María Encina Cortizo. Her research interests include Spanish music from the 19th and 20th centuries, musical theater, especially opera and zarzuela, and their process of transculturation within Hispanic culture, music, and gender. She earned her Bachelor’s degree in Musicology in the University of La Rioja (2015), and her Music Performance Degree in viola at the Eduardo Martinez Torner Conservatoire (2011). She also has two Master Degrees: in Research on Musical Heritage (University of Oviedo, 2012) and in Teaching in Secondary School (Valencian International University, 2016). Her most significant publications include “El gorro frigio: dramaturgical stereotypes, scenic renovation, and diffusion circles in a sainete by Manuel Nieto” in the journal Cuadernos de Música Iberoamericana (ICCMU 2015); “Franz von Suppé in Spain: reception of his lyric plays in the Viennese operetta tradition” in Opera, drama lírico y zarzuela grande entre 1868 y 1925, Mª Pilar Espin Templado (ed.) (UNED 2016), and “Lyric theatre as a diffuser of the dominant ideologies around the War of Africa (1859-1860),” in Anuario Musical (CSIC 2017). As part of her studies, she teaches various undergraduate and public courses including the subjects of opera, zarzuela, music, and gender in the Department of Musicology and the Department of Teaching at the University of Oviedo. Andrea has presented papers at the Annual Congress of the Italian Musicology Society, Spanish Society for Literary Study of Popular Culture, and several conferences of the Centro Studi Opera Omnia Luigi Boccherini. Additionally, she writes for the regional newspaper La Nueva España about musical life in Oviedo, including performance critics and interviews.
Michael Accinno is a musicologist who specializes in disability studies and nineteenth-century U.S. music. He earned his Ph.D. at the University of California, Davis in 2016, under the supervision of Carol A. Hess. His dissertation, “Gestures of Inclusion: Blindness, Music, and Pedagogy in Nineteenth-Century Thought,” examines the history of music education at schools for the blind in New York City, Boston, and London. He is currently working on a book manuscript adapted from his dissertation, as well as an article assessing music critic John Sullivan Dwight’s involvement with the Perkins School for the Blind. During the 2017–2018 academic year, he holds an appointment as a Chancellor’s Postdoctoral Fellow in the Department of Music, where he works under the mentorship of Professor Walter Clark.
Michael has presented papers at meetings of the American Musicological Society, the Society for American Music, and the Society for Disability Studies. His research has been supported by the UC Riverside Chancellor’s Postdoctoral Fellowship program, the Bilinski Educational Foundation, and the UC Davis College of Arts and Sciences. This summer, he will participate in “Global Histories of Disability,” an NEH Summer Institute hosted by Gallaudet University in Washington, D.C.
Andrea Moore is a musicologist specializing in new music and concert culture since 1989. She earned her PhD in Musicology at UCLA in 2016, following previous professional lives in arts administration and new music performance. She is currently at work on two projects. The first examines the politics of identity and representation in post-Cold War new music in the U.S., focusing on a new generation of immigrant composers like Tan Dun and Osvaldo Golijov, as well as the reception of a cohort of former Soviet and Eastern bloc composers. She contextualizes this “multicultural” music within post-Cold War national anxieties and ambitions and looks at issues of institutional support, musical constructions of identity, and the so-called “culture wars” of the 1980s and 1990s. Her second project examines the lives and structures of professional musical life under late capitalism. Her 2016 article, “Neoliberalism and the Musical Entrepreneur” is a critique of the discourse of “entrepreneurship” so prevalent in many U.S. schools and departments of music; she is also working on an ethnographic study of the Los Angeles new music community, and analysis of “post-genre” music as a mode of neoliberal labor.
Other research and teaching interests include the sociology of music, music as a memorial, Bach culture, and 80s pop. Her work has been supported by the German Academic Exchange Service, the Centers for Jewish Studies and European Studies at UCLA, and others. She is the co-founder of the “Musicology and the Present” conference series and is an editor for the American Musicological Society’s blog, Musicology Now.
Maria Christine Muyco, PhD, Associate Professor, University of the Philippines-College of Music, Fulbright Scholar hosted by the University of California, Riverside-Department of Music in collaboration with the Department of Dance and Ethnic Studies. My research embarked on understanding the ideologies of the Cahuilla (Southern California-based American Indians) with regards to their birdsongs and associated dances, and the implications of these ideologies to their sense of place and motion. Early in 2016, I attended their Memorial Day gathering on the Morongo Reservation where birdsinging and dancing took place. Coming back later that year through the Fulbright Foundation support, I was able to conduct interviews among birdsingers and further enriched my understanding of their ideologies through participating in their birdsong-dance workshops, panel discussions, and conversations about land-and-resource issues. I gained insight into the depth of their relationship with the land, the myths connected to the land, and their transformations as a people as they have moved around various lands. As little of what remains in their birdsong language and meanings (although language reclamation is underway), these fragments are seen in a different light: as cues, giving the singer and the listener an experience of those times when their ancestors were in migration; as an experience of sacredness in the recall of their migration story; as modes of expressivity reflecting socio-history, e.g., dis-embodiments of people and land; and as a reminder of their connectivity with each other like a flock of birds. Singing and dancing are bases for a felt experience, recalling a sense (sight, sound, feeling or touch), which allows one to be part of that important moment of history when the people arrived on the land and moved across it for the first time. In a way, they relive their experience of a world that was theirs before anyone else, recollecting the breadth of space and freedom around it. The ideology of practice is inscribed in the Cahuilla protocol of singing and dancing. In the break of songs, a Cahuilla is back to the beginning of time where laws and creation were created at the same time. That was a juncture when everything has reverence for the belief system about deities, animal-human forms, and other multiple players of the people' creation-narrative. Singing is reverence for this protocol; when this protocol) is violated, the memory of ancestral heritage would be impaired; spirits inspiring birdsinging would lose their omnipresence with humans; and the power to survive might dissipate. The sharing of experiences and ideas among the Cahuilla as well as my meeting university professors, native students, scholars, artists, tribal/indigenous elders, and various practitioners, have developed friendships and in a longer term, with possibilities for further and deeper international cultural exchanges and collaborations. Iara Rodriguez is a musicologist specializing in Spanish Musical Theater from the 18th century. She earned her Ph.D. at UNICAMP (Universidade Estadual de Campinas) with the research entitled “Music and Poetics in José de Nebra’s zarzuelas”, in which she analyzed the absorption of foreign ideals from Italian Opera Seria and French tragedies in the Madrilenian theater tradition of the Siglo de Oro, through José de Nebra’s zarzuelas—a genre that alternates spoken dialogue with music, of one of the most prolific composers of the period. In 2017 she received a scholarship to deepen her studies at UCR. Her interests revolve around interdisciplinary studies of the Spanish Musical Theater, including its echoes on 18th century Brazil. In parallel she also develops her career as a singer, emphasizing soprano coloratura’s repertoire and historically informed performances.
Belén Pérez Castillo is a Full-Time Lecturer in the Department of Musicology at the Universidad Complutense de Madrid. Her expertise is in twentieth-century and contemporary Spanish music, the subject of her PhD dissertation. She has published articles on composers including Roberto Gerhard (“Two Men in Tune: The Gerhard-Camus Relationship,” The Roberto Gerhard Companion, ed. Monty Adkins and Michael Russ, 2013, Farnham, Ashgate, pp. 153-180. ISBN: 9781409445159), Gonzalo de Olavide, David del Puerto, Fabián Panisello, and Jesús Torres. She belongs to the research team “Música en los márgenes. Diálogos y transferencias entre España y las Américas (siglos XIX y XX)” (HAR2015-64285-C2-2-P) and is currently involved in researching music and politics, as well as music and exile (“’Problematized’ Music. Notes on the Reception of ‘avant-garde’ Symphonic music during the Franco Years (1952-1969),” Music and Propaganda in the Short Twentieth Century, ed. Massimiliano Sala [Speculum Musicae, Vol. 22], Turnhout, Brepols, 2014, pp. 289-316. ISBN: 978-2-503-55246-0; “Redención: la función propagandística de la música en las cárceles franquistas (1939-1945),” en Música y prensa. Crítica, polémica y propaganda. Enrique Encabo (ed.), 2015, Ed. Difácil. ISBN: 978-84-92476-44-21). Her articles have been published by Ashgate and Brepols, in addition to journals such as Revista de Musicología, Cuadernos de Música Iberoamericana, and Observatoire Musical Français. She has contributed entries to the New Grove Dictionary of Music and Musicians and Diccionario de la Música Española e Hispanoamericana. Since 2006, she has directed the seminars “Diálogos con la creación musical” at the Universidad Complutense. She frequently works with Radio Clásica of Radio Nacional de España. She received a Del Amo Foundation grant to pursue research at the University of California, Riverside, during the summer of 2016.
Elena Torres Clemente is Profesora Titlular in the Musicology Department at the Universidad Complutense de Madrid and researches Spanish music of the twentieth century, with a special focus on the figure of Manuel de Falla. She has published various books and numerous articles in edited volumes and in refereed journals on Falla, as well as having organized diverse publications and conferences on him. Among her books is Las óperas de Manuel de Falla, which received First Prize for Musical Research from the Sociedad Española de Musicología (SEdeM) in 2004. She received her education at the Universidad de Granada, where she obtained the titles of “Profesora de Piano,” “Profesora superior de Solfeo, Acompañamiento y Teoría de la Música,” and Doctora en Historia y Ciencias de la Música. She has been on the board of directors of SEdeM for over eight years, including as director of the Revista de Musicología. She continues to collaborate with that publication as editorial advisor, in addition to serving on the Comité Científico of the Fundación-Archivo Manuel de Falla. She received a Del Amo Foundation grant to pursue research at the University of California, Riverside, during the summer of 2016. Javier Suárez-Pajares is a Tenured Lecturer in the Musicology Department, Universidad Complutense de Madrid. In 2016 he received a Fulbright Grant to develop the research project “Spanish Music and Musicians in the US during the Cold War. Propaganda, Existence and Resistance” as Visiting Scholar at the UC Riverside. Here he began collaborating with Professor Walter A. Clark in writing a biography of the Spanish composer Joaquín Rodrigo. Suarez-Pajares studied guitar at the Real Conservatorio Superior de Música de Madrid and Musicology at the Universities of Oviedo (Spain) and Sheffield (UK). He earned his doctoral degree at the Universidad Complutense in 1994, and his thesis, La música en la catedral de Sigüenza 1600-1750, was published in 1998. His research interests cover a wide range of areas within the history of Spanish music, but in recent years he focused on music and musicians in the mid-twentieth century, especially in regard to connections between music and politics. Until 2020, he will lead the research project “Music on the Margins. Dialogues and Transferences between Spain and the Americas,” with funding of Spanish Ministry of Education. A list of his most important publications can be accessed on the UCM’s website (http://www.ucm.es/dep-musicologia/javier-suarez-pajares). He has taught doctoral courses at several Spanish universities, as well as at the Universidad Nacional Autónoma (México), Universidad Estadual Paulista (São Paulo; Brazil), and Escuela Nacional de Música de Montevideo (Uruguay). From 2007 to 2012, he was Principal Fellow-Associate Professor at the University of Melbourne. He is the current President of the Spanish Guitar Society and an acknowledged specialist in the history of the guitar.
A native of Málaga (Spain), Ana Benavides has degrees from the Málaga, Granada, Madrid, and Vienna conservatories. Her principal teachers included Gloria Emparán, Manuel Carra, Dianko Illiew and Alicia de Larrocha. She holds a Piano Performing Diploma from the Royal College of Music of London and a degree in Spanish Philology from the University of Málaga. She has a doctorate in Humanities from the University of Carlos III (Madrid), with the Premio Extraordinario de Doctorado. During the 2014-15 academic year, Ana Benavides is a scholar-in-residence at the University of California, Riverside.
Ana Benavides has performed recitals in Europe, Australia, and South and North America as a regular visitor to international festivals both as a soloist and chamber musician. She also maintains an active interest in the Spanish piano repertoire of the 19th century, and she is often invited to give lectures, courses and concerts on this this topic at leading music schools and festivals, for example, the Juilliard School of Music, University of Texas, Austin, Lancaster International Piano Festival, University of Melbourne, and University of Adelaide, among others. In addition to solo recitals, Ana Benavides performs extensively in a duo with clarinetist Pedro Rubio and also in a classical quintet, Músicos del ayre, playing pianoforte.
Her numerous national and international awards include: El Mundo de la Música (Madrid, 1980), Concurso Nacional Marisa Montiel (Linares, 1983), Vienna International Music Competition (Viena, 1995), Concours International de Piano Lucien Wurmser (Paris, 1996), Concours International d’Interpretation Pierre Lantier (Paris, 1996). Spanish music awards include: “Luis Colemán” (1988), “Andrés Segovia” (1989), “Rosa López Comunión” (1990) and “Premio a la mejor edición de música clásica” (Academia de la Música & SGAE, 2008). Email: email@example.com
Antenor Ferreira Corrêa is a Brazilian composer, percussionist and researcher. In 2014, he received a fellowship granted by CAPES (Foundation linked to Brazilian Ministry of Education) that allowed him to accomplished a six months Post-Doctoral research at the University of California, Riverside (UCR). During this time (2014/2015), he investigated the connections and convergences between music and image in digital platforms. He had the opportunity to collaborate with Dr. Paulo Chagas, Dr. Timothy Labor, and Dr. Ian Dicke. Inspired by film composition, Antenor Ferreira developed several music works during his staying at UCR, including an orchestral work titled "Oxala White Mantle" composed specially to UCR Orchestra. Juarez Bergmann Filho has earned a Bachelor’s degree in violin performance at the Music and Fine Arts School in Curitiba, Brazil, a Master’s degree in Music and a PhD degree in Design at the Federal University of Paraná, Brazil. As a professional violinist, he acted as a member of the Camerata Antiqua and the Curitiba Chamber Orchestra before joining the Federal University of Paraná as a professor of music, organology and musical instruments history and culture. His research interests are in the areas of the Material Culture, Music performance and Musicology, ranging from Violin Culture and Practices, the building and cultural studies of Musical Instruments and the Practice of the Rabeca (Brazilian Fiddle). He is a lecturer in the Lutherie graduate course and the Design post graduate department at the Federal University of Paraná.
Liz Mary Díaz Pérez de Alejo is a gifted composer and musicologist writing her dissertation at the Universidad de Valladolid on the composer Joaquín Nin y Castellanos (1879-1949). A native of Cuba now resident in Spain, Liz Mary has come to UCR to conduct original research in the Joaquín Nin Culmell Archive in Special Collections. A renowned composer in his own right, Nin Culmell was the son of Nin y Castellanos, and the archive contains valuable documentation about the entire family. Nin Culmell (1908-2004) was from Cuba and later emigrated to the United States, where he was on the composition faculty at UC Berkeley for many years. After his passing, the UCR Libraries acquired his personal archive and has now made it available to researchers like Liz Mary.
Paulo de Tarso Salles coordinates the PAMVILLA, a research group dedicated to Villa-Lobos's life and work. PAMVILLA was founded in 2012 and has grown significantly, with the participation of researchers from various regions of Brazil and other countries, such as Eero Tarasti (University of Helsinki) and Melanie Plesch (University of Melbourne). Paulo organizes annually the Villa-Lobos Symposium, gathering scholars and students focused on that composer. Besides, Paulo is releasing his most recent book, Os Quartetos de Cordas de Villa-Lobos: Forma e Função (EDUSP, 2019), the fruit of research developed over a decade, including a sabbatical semester as a visiting researcher at UCR.
Fulbright scholar Roberto Kolb-Neuhaus is in residence as a visiting scholar in the Music Department of UCR for the academic year (2009-2010)
Born in Mexico City of Viennese parents, he is professor of musicology and performance at the Graduate Program in Music of the Universidad Nacional Autónoma de México.
He studied music in Holland at the Royal Conservatory of Music, where he majored in oboe and English horn. In the field of musicology, he obtained his doctorate with a semiological study of Mexican composer Silvestre Revueltas’s early works.
He is the founder and artistic director of Camerata de las Américas, an inter-American orchestra dedicated mainly to the research, recording, and performance of music written for mixed instrumental ensembles during the twentieth century in the Americas.
He has dedicated his life as a researcher to the study of the music of Silvestre Revueltas. He has published three books on this composer, including the catalog of his works. In 1998, he organized the Second International Silvestre Revueltas Symposium under the auspices of the National University of Mexico. He designed the Foro Virtual Silvestre Revueltas homepage, which includes a selection of previously published key essays on this composer’s life and music, as well as an updated catalog of works, recordings, and bibliography on Revueltas. He is also the editor of the Revueltas Digital Manuscript Library, which allows comparative and documented research of the composer’s musical and non-musical documents, including musical sketches, drafts, and parts, as well as letters, photographs, concert programs and writings on music. His research has lead to the production of three digital recordings of unknown repertoire by Silvestre Revueltas. He is also the chief editor of the Revueltas Critical Edition, published by the National University of Mexico in collaboration with Peer Music.
Until recently he was Dean of the Music Graduate Program at the Universidad Nacional Autónoma de México